bypassing bleach : film and print

[Jason Maeda]

can anyone refer me to a film that used a bleach bypass process for both the neg and the print?

 

also, when a film is bleach-bypassed during the print stage only, then the video version must have the look re-created by the colorist. are there any tell-tale signs that let you know this was the case?

 

jk :ph34r:

[David Mullen ASC]

I did both bleach-bypass to the print AND the neg for a short film but usually that's much too high-con for feature films. Most films, if they use bleach-bypass at all, would either do it to the neg or the print -- but not both.

 

The primary difference between creating the bleach-bypass look in the telecine transfer versus using it on the print is the visible graininess, but since graininess is hard to see on a video monitor anyway, most people do not miss the grain. Janusz Kaminski has lately been using a low-con print instead of an IP for some of his transfers (like for AI and Minority Report) to keep some of the grittiness -- IP's tend to be much smoother and lower contrast. The loss of shadow detail from using a low-con print, even if normally processed, compared to using an IP, probably helps him create that skip-bleach look in the telecine a little easier because he isn't fighting having too much shadow detail to try and throw away.

[Jason Maeda]

thanks david, appreciated as always.

jk :ph34r:

[John Pytlak RIP]

Kodak VISION Color Teleprint Film:

 

http://www.kodak.com/US/en/motion/products...1.4.8.4.3&lc=en